PICTURE  ANALYSIS 
OF  GOLF  STROKES 

ACOMPLETE  BOOK  OF  INSTRUCTION 


*j'. 


W' 


JAMES  M.BARNES 


I 


PICTURE   ANALYSIS 
OF  GOLF  STROKES 

A  Coiiiplete  Book  of  Instruction 


BY 
JAMES  M.  BARNES 


PHOTOGRAPHS  BY 
L.  F.  DEMING 


PHILADELPHIA  AND  LONDON 
J.  B.  LIPPINCOTT  COMPANY 


COPYRIGHT.    1919,  BY  J.  B    LIPPINCOTT  COMPANY 


SIXTH    IMPRESSION 


CONTENTS 

Page 

Introductory  Remarks 1 

My  Cluiss 9 

The  Grip 13 

The  Stance  17 

Driver  or  Brassie — Fule  Shot 21 

The  Cleek — Full  Shot 53 

Full  Mashie  or  Mhhron 75 

The  Mashie  Niblic — 100-120  Yards 103 

Short  Pitch  Shot — With  Mashie  Niblic 129 

Pitch  and  Run — Chip  Shot 145 

Bunker  Shots 157 

Putting  171 

The  Push  Shot — With  a  Mashie  Iron 183 

The  Cleek — Full  Shot — For  the  Left-Hand  Player 209 

Comparison  of  Backward  and  Forward  Swings 231 

Similarity  of  Strokes  with  All  Clubs 239 

Concluding  Remarks 247 


2251815 


PICTURE  ANALYSIS 
OF  GOLF  STROKES 

A  Complete  Book  of  Instruction 


N  my  many  years  of  golf  teaching  I  have  so  often  been 
impressed  with  the  difficulty  of  clearly  conveying  to  my  pupils 
the  ideas  I  have  expressed  to  them,  that  I  have  given  much 
thought  and  study  toward  devising  some  means  of  placing 
those  ideas  before  them  in  a  manner  which  would  insure  their  obtain- 
ing the  same  conception  that  I  was  trying  to  impart.  Every  one  who 
has  attempted  to  teach  golf,  and  no  doubt  a  great  many  of  those  who 
have  tried  to  be  taught,  appreciate  how  ahnost  impossible  it  is  to 
describe  the  making  of  a  golf  stroke  in  words. 

I  have  numbers  of  photographs  of  myself  and  others  which  have 
been  taken  during  the  execution  of  various  strokes,  but  with  few 
exceptions  they  show  the  player  either  at  the  top  of  the  swing  or  at  the 
finish  where  movement  has  ceased.  Such  pictures  I  have  found  of 
little  value  for  instruction  purposes  because  they  show  nothing  of  the 
essential  parts  of  the  swing  or  how  the  whole  movement  is  executed. 

The  vital  part  of  a  golf  stroke — that  on  which  the  whole  con- 
centration should  be  placed — is  during  the  actual  hitting  of  the  ball: 
that  portion  beginning  at  the  horizontal  position  of  the  club  in  its 
downward  swing,  where  the  club  head  is  just  about  waist  high,  and 
ending  at  the  point  where  the  club  head  is  reaching  out  after  the  ball 
to  about  two  feet  beyond  where  the  hitting  took  place. 

1 


This  is  the  all  important  part  of  a  golf  stroke.  But  with  the 
exception  of  the  niotion-jjicture  photographs,  views  of  the  player  in 
those  positions  are  seldom  taken.  ^\ncl,  unfortunately,  the  motion- 
picture  results,  heing  limited  hy  shutter  speeds,  do  not  show  in  clear 
detail  very  much  of  the  hands  or  even  tlie  arms  of  the  player  in  that 
part  of  the  stroke,  on  account  of  the  terrific  speed  of  their  motion. 
In  the  individual  films  of  the  "  mo\ie  "  there  is  just  a  blur  where  those 
members  ought  to  be,  although  at  the  beginning  and  end  of  the  swing 
Ihey  are  quite  clear  and  distinct.  When  viewing  them  on  the  screen  it 
is  the  imagination  of  the  observer  which  fills  in  the  lacking  clearness. 
In  just  the  same  way  an  observer  watching  the  actual  play  of  a  full 
wood  shot,  for  instance,  does  not  see  the  club  head  or  the  player's 
hands  and  forearms  during  the  part  of  the  swing  I  have  just  men- 
tioned. There  is  an  impression  of  seeing  them  moving  along,  but  all 
detail  of  their  action  is  lost. 

When  I  execute  a  complete  swing  and  ask  a  pupil  to  observe 
a  certain  part  of  it,  I  am  impressed  with  the  fact  that  the  human  eye 
is  far  too  slow  to  get  any  impression  at  all  of  the  detail  of  that  part. 
In  fact,  the  pupils  tell  me  they  cannot  even  see  my  hands  while  the 
club  is  swinging — they  just  get  a  blur,  giving  merely  a  knowledge 
of  motion. 


PICTURE  ANALYSIS  OF  GOLF  STROKES 

I  find  also  when  I  shuw  them  the  various  parts  oi  the  swing 
by  posing  tlie  position,  the  impression  ci'eated  in  their  minds  is  very 
remote  from  the  one  I  am  trying  to  convey.  The  reason  in  that  case 
is  that  it  is  physically  imjiossible  to  pose  correctly  a  position  of  tense 
and  active  muscles.  It  simply  can't  be  done,  nor  can  tlie  pupil  get  the 
"  feel  "  or  instinct  of  the  motion  by  such  an  attemjit  at  imitation. 

Were  it  possible,  however,  to  speed  up  the  human  vision  in  its 
perception  of  these  motions  to  perhaps  fifty  times  its  present  limits, 
so  that  the  observer  could  see  clearly  all  the  detail  while  an  actual 
stroke  is  being  executed,  then  the  golf  jjupil  would  get  exactly  the 
right  idea  by  simply  watching  the  teacher  perform.  Under  such  con- 
ditions the  teaching  of  golf  would  be  a  simple  and  easy  task  instead 
of  the  very  difficult  one  that  it  now  is. 

As  I  said  in  the  beginning,  these  difficulties  which  1  have  enumer- 
ated presented  a  problem  to  me  which  I  had  long  been  trying  to  solve, 
and  I  was  discussing  it  one  day  with  one  of  the  cluh  members  who 
has  been  a  rather  close  student  of  golf  matters  for  several  years.  It 
developed  that  he  was  a  very  good  person  for  me  to  tell  my  troubles 
to,  for  in  addition  to  being  a  student  of  golf  and  golf  playing,  he 
was  also  possessed  of  a  very  comprehensive  knowledge  of  and  ability 
in  photography.  The  answer  to  my  difficulty  was  immediately  forth- 
coming, and  the  ideas  which  later  became  the  foundation  of  this  book 
developed  right  then  and  there. 

This  gentleman  explained  to  me  the  possibilities  of  taking  photo- 
graphs at  very  high  shutter  sjieeds  so  as  to  enable  any  jiart  of  any 
stroke  to  be  photographed  to  show  clearly  the  details  of  hands, 
arms  and  all  parts  of  the  body  just  the  same  as  though  the  human 
vision  were  made  quick  enough  to  see  it. 

3 


PICTURE  ANALYSIS  OF  GOLF  STROKES 

Furthermore,  the  pictures  could  be  made  "  stereoscopic,"  or  with 
two  lenses,  one  representing  the  view  with  the  right  eye  and  the  other 
the  view  with  the  left  eye.  Both  pictures  are  taken  simultaneously, 
so  that  when  properly  mounted  and  looked  at  through  a  stereoscope  a 
true  reproduction  of  exactly  what  the  vision  would  have  revealed,  had 
it  been  fast  enough,  is  presented.  All  the  flatness  of  the  ordinary  pic- 
ture is  eliminated  and  instead  the  observer  gets  the  feeling  of  looking 
directly  at  the  objects  themselves  with  all  their  original  perspective. 
It  was  a  singular  sensation  to  me  when  I  first  saw  myself  through 
these  pictures  in  reality  playing  golf  out  in  the  sunshine  on  the  course. 

Arrangements  were  soon  completed  and  the  pictures  which  you 
will  look  at  in  this  book  taken.  It  developed  immediately  that 
more  could  be  learned  about  golf  from  a  study  of  these  photographs, 
with  some  few  explanations  of  the  more  prominent  features,  than 
could  be  taught  in  many  personal  lessons.  It  seemed  quite  fitting, 
therefore,  that  the  pictures  should  be  presented  to  the  golfing  pubhc 
as  a  whole  so  that  the  teaching  which  they  present  might  be  of  general 
service.  I  am  convinced  that  once  a  student  of  the  game,  and  that 
includes  most  of  its  players,  realizes  the  vast  fund  of  data  herein 
contained,  he  will  need  the  book  constantly  available  for  reference 
and  find  it  just  as  indispensable  as  the  favorite  club  from  the  bag.  To 
be  of  the  greatest  benefit  they  should  be  viewed  stereoscopically,  but,  of 
course,  they  cannot  be  so  produced  in  book  form.  Nor  will  the 
degree  of  abihty  of  the  player  affect  the  value  which  may  be  derived: 
the  beginner  can  very  quickly  trace  out  his  faults  and  learn  the  more 
correct  methods  of  making  the  shots ;  the  better  player  may  find  cer- 
tain methods  of  liis  play  which  might  be  changed  to  produce  greater 
accuracy  or  effectiveness  in  his  strokes.  As  a  matter  of  fact,  I  have 
myself  been  benefited  from  studying  the  pictures,  althougli  they 
illustrate  my  own  methods.  It  is  the  first  time  I  have  ever  actually 
seen  myself  in  action. 

4 


PICTURE  ANALYSIS  OF  GOLF  STROKES 

I  do  not  want  to  even  suggest  that  my  own  methods  are  the 
absolutely  correct  ones — the  only  right  way  to  "  handle  the  clubs."  On 
the  contrary,  I  want  to  point  out  that  these  pictures  merely  show 
how  I  personally  make  the  various  strokes.  The  degree  of  success 
which  it  has  been  my  good  fortune  to  attain  is  a  very  good  indica- 
tion that  those  methods  must  be  reliable  and  quite  suitable  for  pro- 
ducing unifonnly  good  results.  I  am  tall  and,  as  the  papers  say, 
"  rangy,"  so  that  it  would  hardly  be  expected  that  a  shorter  and 
stouter  player  could  swing  the  clubs  in  precisely  the  same  manner. 
Much  has  been  written  about  the  physical  characteristics  of  the  indi- 
vidual governing  liis  mode  of  play.  That  idea  has  my  full  endorse- 
ment. I  do  want  to  make  the  claim,  however,  that  no  matter  what 
the  physical  characteristics  of  the  player,  there  are  cei'tain  funda- 
mental movements  in  the  making  of  successful  golf  strokes  which 
should  be  done  in  the  same  way  by  every  player.  For  instance,  one 
must  stand  on  the  feet,  the  club  must  be  held  in  the  hands  and  swung 
with  the  aid  of  the  arms,  and  to  accommodate  that  movement  the 
various  parts  of  the  body  must  move  in  definite  ways.  The  stroke 
must  be  "  timed  "  and  that  means  the  proper  coordination  of  all  these 
movements.  So  no  matter  whether  the  player  is  short  or  tall,  stout 
or  thin,  the  sequence  of  the  movements  must  be  the  same  for  all  and 
that  sequence  is  what  the  pictures  in  this  book  show  very  clearly  in 
detail.  Were  I  six  inches  shorter  and  many  pounds  heavier  I  should 
still  swing  the  clubs  in  precisely  the  same  manner,  but  I  am  sure  the 
appearance  of  the  stroke  to  the  observer  would  be  far  different.  That 
expresses  to  my  mind  why  it  is  that  different  players  among  the  best 
professionals  are  said  to  possess  different  styles  of  play.  They  appear 
to  be  playing  differently,  but  the  fundamental  essentials  of  the  stroke 
are  performed  in  the  same  way  by  them  all. 

5 


PICTURE  ANALYSIS  OF  GOLF  STROKES 

Furtheiniore,  a  tall,  slender  person  is  better  adaj)ted  to  illustrate 
the  movements  and  their  sequence  than  a  shorter,  stouter  one  would 
be.  So  I  am  confident  that  any  player  of  any  stature  may  find  much 
assistance  in  the  study  of  the  methods  here  illustrated. 

All  golfers  are  more  or  less  students  of  the  game  and  are  eager 
for  improvement.  At  some  time  or  other  they  have  read  printed 
instructions  describing  "  how  to  do  it,"  but  I  doubt  whether  a  reader 
can  ever  obtain  the  impression  from  such  written  description  of  a  golf 
stroke  which  the  author  intended  to  convey.  So  I  shall  make  no 
attempt  in  this  book  to  enter  into  lengthy  explanations  of  the  strokes, 
but  rather  mention  briefly  the  salient  features  and  trust  the  reader 
to  gather  the  many  other  details  in  his  own  way  from  the  pictures.  He 
may,  from  studying  them,  describe  the  actions  to  himself  in  his  own 
language.    It  is  essentially  a  picture  book  of  instruction. 

In  order  to  insure  the  proper  conception  of  the  pictures  and  their 
taking,  it  is  advisable  to  describe  the  methods  employed.  Each  one 
represents  a  completed  and  successful  stroke;  even  in  those  wliich 
show  only  the  position  of  address  the  stroke  was  completed  and  the 
ball  actually  hit.  And  not  only  was  each  stroke  fully  performed,  but 
it  had  all  the  intensity  of  execution  of  that  particular  shot  to  its 
maximmii  power — there  was  no  easing  up  of  any  swing  for  the  benefit 
of  the  camera.  Each  picture,  for  instance,  of  the  Driver  or  Brassie 
was  taken  during  the  operation  of  a  stroke  wliich  resulted  in  a  distance 
averaging  two  hundred  and  fifty  yards.  So  also  in  the  Cleek  shot 
pictures,  the  average  distance  was  two  hundred  and  twenty  yards — 
the  full  Mashie  one  hundred  and  sixty  yards  carry,  and  similarly  for 
all  the  shots ;  they  were  played  to  their  full  limit. 

The  white  hnes  in  the  pictures  are  placed  there  to  indicate  the 
line  of  flight  and  the  perpendicular  to  it  across  the  ball,  in  order  to 
better  illustrate  the  relative  stance  and  position  to  the  ball. 

6 


PICTURE  ANALYSIS  OF  GOLF  STROKES 

After  the  white  strings  were  pkieed  and  the  camera  set  up  my  only 
connection  with  the  photographs  was  to  phiee  the  ball  and  make  the 
shot.  The  man  at  the  camera  took  whatever  view  of  the  stroke  he  saw 
fit,  and  I  never  knew  whether  it  was  to  be  the  position  of  address,  the 
backward  swing  or  the  forward  swing  which  was  to  be  taken.  My 
whole  attention  was  on  jjlaying  the  shot  and  not  on  being  photo- 
graphed; therefore,  there  is  not  the  slightest  suggestion  of  "pose" 
in  any  of  the  pictures. 

Similar  pictiu'es  of  the  various  parts  of  the  strokes  are  given,  the 
viewpoint  being  from  a  different  angle,  so  as  to  show  more  clearly 
the  various  positions  of  the  movements.  About  half  of  all  that  were 
taken  are  shown  in  the  book,  and  I  believe  these  represent  all  the 
salient  features  of  the  strokes  most  commonly  used  and  of  general 
interest.  No  attempt  has  been  made  to  include  any  of  those  special 
strokes  which  are  occasionally  required  in  emergency  situations.  They 
are  a  matter  of  individual  development. 

None  of  the  pictures  are  retouched  in  any  way,  all  being  repro- 
duced just  as  they  originally  show  on  the  negative. 

All  players  at  times  experience  trouble  temporarily  in  the  use 
of  some  of  their  clubs.  Not  being  able  to  see  themselves,  they  are 
at  a  loss  to  find  the  cause.  Their  professional  may  not  be  available 
to  straighten  them  out.  In  such  a  difficulty  a  reference  to  the  pictures 
in  this  book  should  be  of  much  value.  If  my  readers  find  their  game 
benefited  from  a  study  of  the  photogi-aphs  I  shall  be  glad  this  idea 
of  teaching  has  been  of  service.  With  the  utmost  confidence  in  the 
result,  I  will  proceed  to  the  illustrations  and  my  brief  comments 
regarding  each  one. 


MY  CLUBS 


MY  CLUBS 


CLUB 


DRIVER 


BRASSIE . 


SPOON . 


CLEEK. 


MIDIRON . 


MASHIE  IRON 


MASH  IE 


PITCHING  MASHIE. 


MASHIE  NIBLIC. 


PUTTER 


LENGTH 


42^ 


423^ 


411^ 


39H 


38 


38H 


aTi/a 


371/2 


36M 


34 


WEIGHT 


13 

13^ 

13 

14 

13H 

12K 

14H 

1134 

UH 

lOM 

u}4 

UH 

14M 

lOM 

15 

11 

f5H 

9M 

141^ 

sy2 

BALANCE 


The  length  of  the  clubs  is  given  in  inches  from  the  heel  to  the  end 
of  the  shaft ;  the  weight  is  in  ounces ;  and  the  balance  is  in  inches  from 
the  heel  to  the  white  line  on  the  shaft.  If  the  club  be  supported  at 
this  white  line  on  the  shaft  it  will  balance  in  a  horizontal  position. 


10 


THE  GRIP 


THE  GRIP 

UVu  club  is  held  in  the  fingers  of  both  hands  with  the  little 
finger  of  the  right  hand  placed  over  the  first  finger  of  the 
left  hand.  This  is  done  in  order  to  get  both  hands  as  close 
together  as  possible  to  enable  them  to  work  in  unison. 
The  thumbs  of  both  hands  are  only  sliglitly  around  the  shaft  and  the 
main  pressure  is  between  them  and  the  two  first  fingers. 

The  httle  finger  in  overlapping  should  exert  but  little  pressure. 
The  grip  of  the  left  hand  is  the  firmer  of  the  two. 


14 


THE  STANCE 


THE  STANCE 


OR  the  purpose  of  comparison  of  the  address  with  the  various 
clubs  these  pictures  are  given. 

The  white  lines  show  the  line  of  flight  of  the  ball,  and  the 
line  across  the  ball  at  right  angles  to  the  line  of  flight. 
The  stance  for  all  is  sliglitly  ojien,  Init  with  the  shorter  clubs  the  body 
is  bent  more  over  the  ball,  the  feet  are  closer  together,  and  tlie  ball 
is  more  nearly  opposite  the  left  heel. 

The  body  is  bent  slightly  forward  from  the  waist,  the  weight 
being  about  evenly  balanced  on  both  feet.  The  position  should  be 
perfectly  comfortable  and  easy,  the  body  relaxed  without  tenseness 
in  any  part. 

The  grip  of  the  left  hand  is  somewhat  tighter  than  the  right.  The 
"  V  "  between  the  thumb  and  forefinger  of  both  hands  points  over  the 
right  shoulder. 

The  pictures  show  in  sequence  the  address  of  the  Driver  or 
Rrassie,  Spoon,  Cleek,  Mashie  Iron,  Mashie  and  jVIashie  Xiblic. 


18 


DRIVER  OR  BRASSIE 

FULL  SHOT 


DRIVER  OR  RRASSIE 

COMFORTABLE  position  is  first  secured  when  getting 
"  set  "  for  the  stroke  during  the  prehniinary  waggle  by 
adjusting  the  stance  and  getting  the  "  feel  "  of  the  club  into 
the  fingers  and  hands. 
The  feet  are  just  far  enough  apart  to  procure  a  comfortable  firm- 
ness. Their  position  is  adjusted  so  as  to  "  grip  "  the  ground  firmly 
on  their  inside  edges. 

Complete  relaxation  exists  except  for  the  firm  grip  of  the  club  in 
the  fingers  and  the  grip  of  the  feet  on  the  ground. 


22 


DRIVER  OR  BRASSIE 

HE  stance  is  slightly  open. 

The  weight  is  about  even  on  botii  feet. 

The  body  is  bent  slightly  from  the  waist  and  is  relaxed. 


>|  HE  club  head  is  close  to  the  ground  and  only  a  few  inches  away 
from  the  ball  in  the  backward  swing. 

Simultaneously  with  the  movement  of  the  club  head  the  left 
knee  starts  to  bend  toward  the  ball,  and  the  right  arm  to 
bend  at  the  elbow. 


24 


DRIVER  OR  BRASSIE 

HPj  first  movements  of  the  backward  swing  are  performed  prin- 
cipally with  the  left  hand  swinging  the  left  arm  straight  back, 
while  the  left  knee  is  bending  toward  the  ball. 
The  body  turns  in  unison  with  the  movement. 
Both  elbows  are  kept  close  to  the  body,  the  right  bending  in  toward 
the  hip. 

The  club  head  swings  back  close  to  the  ground. 


26 


DRIVER  OR  BRASSIE 

HE  backward  swing  of  the  club. 

The  left  knee  continues  the  bending  movement  toward  the 
ball  and  the  left  arm  swings  well  back. 
The  back  of  the  left  hand  turns  slightly  upward. 
Both  elbows  remain  close  to  the  body,  the  right  bending  as  the  club 
swings. 

After  the  club  reaches  a  horizontal  position  the  club  head  is  lifted 
with  the  hands,  bending  from  the  wrists. 


28 


3^;- 


!*UtS#. 


DRIVER  OR  BRASSIE 

HE  backward  swing  of  the  club. 

The  action  of  the  wrists  continues  to  hft  the  club  head  and 
turn  the  club  to  the  top  of  the  swing. 

The  turn  of  the  body  has  lifted  the  left  heel  off  the  ground. 
The  left  arm  is  straight  and  the  grip  with  both  hands  firm. 

The  right  elbow  bends  until  the  forearm  is  well  in  toward  the 
shoulder  and  almost  straight  down  underneath  the  club  shaft. 


30 


DRIVER  OR  BRASSIE 

HE  top  of  the  swing — just  as  the  elub  starts  down. 
The  head  has  remained  perfectly  still. 

The    line   of   vision    to   the    ball   is   directly    o\er    the    left 
shoulder. 

The  control  of  the  club  is  still  in  the  left  hand,  although  the  grip  is  still 
firm  in  the  fingers  of  both  hands. 

The  face  of  the  club  head  is  turned  slightly  upward. 
The  right  elbow  is  as  close  to  the  body  as  possible  without  being 
cramped. 

The  right  leg  is  playing  a  prominent  part  in  maintaining  posi- 
tion, and  firmly  bracing  the  ])ndy. 

At  this  part  of  the  stroke  an  even  and  firm  balance  is  essential. 


32 


K?r 


"^\ 


51    -.  tv-*; 


•  _ 


DRIVER  OR  BRASSIE 


X  starting  the  downward  swing  of  the  club  the  body  begins  to 
turn  and  in  unison  with  it  the  left  wrist  starts  the  club  head. 
The  left  arm  remains   straight  and  pulls  the  club  down 
simultaneously  with  the  body  turn. 
The  right  elbow  comes  in  close  to  the  body,  still  retaining  the  same 
bent  position  as  at  the  top  of  the  swing. 

The  left  heel  drops  to  the  ground,  so  that  both  feet  are  firmly  sup- 
porting the  stroke. 

The  right  knee  starts  to  bend  in  toward  the  ball  and  the  left  knee 
to  straighten. 


34 


UKIVER  OR  ERASSIE 


HE  downward  swing. 

The  liands  continue  to  drop  with  tlie  turn  of  the  hody 
imtil  tlie  arms  are  ahoiit  vertical  by  the  time  the  ckib  is 
horizontal. 

The  right  elbow  is  still  bent  and  well  in  to  the  Ijody.  and  tlie  right  wrist 
is  still  bent  as  far  back  as  it  can  go. 

Both  feet  are  flat  and  firm  on  the  ground. 


.'}() 


DRIVER  OR  BRASSIE 


HERE  the  real  hitting  begins. 

The  body  turn  has  reached  a  point  ahnost  the  same  as  at  the 
ad(h'ess.  Althougli  the  left  arm  is  ahnost  straight  down,  the 
right  hand  has  made  as  yet  but  httle  effort,  but  is  now  in  posi- 
tion to  begin  its  real  work.  The  right  wrist  has  retained  practically 
the  same  bent  position  as  at  the  top  of  the  swing.  The  wrinkles  in  the 
flesh  at  the  wrist  show  the  bend  to  be  still  there. 

From  this  point  the  right  hand  does  the  hitting — gets  the  head  of 
the  club  through — while  the  left  arm  is  pulling  straight  through  with 
all  the  strength  at  its  command. 

The  pressure  is  here  taken  off  the  right  heel  and  transferred  in- 
wardly to  the  ball  of  the  foot  and  toes. 


38 


^<..: 


DRIVER  OR  BRASS  IE 

HE  jirincipal  difference  between  tliis  ])icture  and  tlie  preceding 
one  is  in  the  position  of  the  right  wrist.    Tlie  left  arm  is  still 
straight  and  pulling  hard,  while  the  right  hand  is  whipping 
the  club  head  through.    The  thumb  and  forefinger  of  the  right 
hand  are  playing  a  very  prominent  part  in  the  work. 

It  is  interesting  to  note  from  these  pictures  where  the  maximum 
speed  of  the  club  head  occurs.  The  exposures  were  uniform  at  1/1500 
part  of  a  second  and  the  blur  of  the  club  head  and  shaft  is  the  greatest 
where  their  speed  is  the  greatest.  In  this  picture  the  club  head  itself 
is  just  above  the  left  foot,  and  the  shaft  is  almost  unbelievably  bent 
from  the  speed  which  is  imparted  to  it.  At  this  point  the  speed  of 
the  swing  is  reaching  its  maximum  and  results  mainly  from  the  whip 
of  the  right  wrist. 


40 


DRIVER  OR  RRASSIE 

HE  impact  with  the  hall. 

The  concentration  at  this  point  is  very  intense,  which  is  largely 
the  secret  of  a  successful  shot.  It  keeps  the  head  still  and 
prevents  looking  up. 
All  the  muscular  movements  which  make  uj)  the  stroke  reach  their 
climax  at  this  point,  and  that  comes  from  a  2)erfectly  even  and  smooth 
development  of  the  power.  This  feature  is  commonly  called  timing 
and  the  success  of  the  stroke  is  directly  proportional  to  the  accuracy 
with  which  it  is  accomplished.  A  study  of  the  picture  reveals  the  body, 
arms  and  hands  at  maximum  effort  and  in  perfect  unison. 

The  right  knee  is  bending  and  tiu'ning  inward  to  accommodate 
the  turn  of  the  body. 

For  many  years  the  question  of  liow  long  the  ball  remains  on  the 
head  of  the  club  after  the  impact  has  been  written  about  and  discussed. 
This  jiicture  answers  that  question.  The  ball  is  just  leaving  the  club 
face  and  has  been  in  contact  with  it  for  a  distance  about  equal  to  the 
width  of  the  club  head. 


42 


■      ■    1:. 


DRIVKK  OR   HKASSIE 

J  I  IIjVj  the  left  arm  is  practically  straight  tlirDuuliout  the  whole 
swiii<r  the  right  arm  does  not  become  straight  until  just  as  the 
hall  is  leaving  the  club  head. 

The  concentration  has  continued,  although  the  hall  is  well 
on  its  way. 

The  elul)  head  has  been  thrown  out  after  the  hall,  which  action 
keejis  both  arms  straight  out  from  this  point  until  practically  the 
finish  of  the  stroke. 

Every  movement  of  the  stroke  is  supported  at  this  point  by  the 
left  leg,  the  right  leg  and  foot  acting  as  a  brace  for  the  impact. 


44 


DRIVER  OR  BRASSIE 

HE  concentration  has  relaxed  and  the  head  turns  toward  the 
ball  to  watch  its  flight. 

The  forward  bend  of  the  body  from  the  waist  has  continued, 
which  has  kept  the  head  down  and  helped  the  arms  to  follow 
out  after  the  ball. 

The  right  knee  bends  in  toward  the  line  of  flight  to  accommodate 
the  turn  of  the  body. 

Both  arms  swing  straight  out  and  away. 


46 


DRIVER  OR  BRASSIE 

HE  effort  is  completed,  although  the  club  is  still  under  control. 
The  body  has  relaxed  and  turned  to  face  the  line  of  fliglit. 
The  force  of  the  stroke  has  been  delivered  without  disturb- 
ing the  even  balance  of  the  body  or  interfering  with  its  easy 


relaxation. 


48 


<• 


% 


DRIVER  OR  RRASSIE 

HE  coinijlete  stroke  in  the  sequence  of  its  making. 

The  various  movements  which  have  been  described  in  detail 
may  be  followed  as  they  develop  from  these  pictures. 
The  left  arm  is  straight  throughout  the  swing. 

The  balance  of  the  body  is  maintained  continuously,  in  which  the  knee 

action  assists  materially. 


.50 


THE  CLEEK 

FULL  SHOT 


THE  CLEEK 

HE  stance  differs  from  that  of  the  wooden  clubs  only  in  that 
the  ball  is  closer  to  the  i)layer  and  the  feet  are  not  quite  so 
far  apart. 
J     There  is  slightly  zuore  bending  of  the  body  from  the  hips. 


The  whole  stroke  is  essentially  the  same  as  that  with  the  driver. 


54 


THE  CLEEK 

N  the  backward  movement  of  the  cliil)  the  arms  are  kept  closer 
to  the  body  and  the  swing  is  more  upright  than  for  the  wooden 
chibs  (hie  to  the  shorter  shaft  and  greater  bend  of  the  body. 
There  is  only  a  slight  movement  from  the  wrists  so  far  in 
Ihe  stroke. 

Note  the  bending  of  tlie  left  knee  and  the  straightness  of  the 
left  arm. 


5G 


THE  CLEEK 

LL  tliroiigh  the  backward  swing  both  elbows  are  close  together 
and  the  arms  are  very  close  to  the  bodj'. 
Compare  the  positions  of  the  left  knee   in  the  two  pict- 
ures.    It  is  the  body  turn  which  pulls  the  left  knee  in,  and 
the  left  heel  from  the  ground. 

The  right  elbow  bends  sharply  at  the  latter  part  of  the  upward 
swing,  while  the  wrists  lift  and  turn  the  club. 


58 


THK  CI.EEK 


^T  the  top  of  the  swing,  just  as  the  eluh  starts  down. 
I4I'      Tlie  right  leg  is  quite  rigid  and  acts  as  a  firm  suppurt  and 
■'••ni^Jl     hahuicc  for  the  turn  of  the  liody,  whicli  is  to  foHow. 

The  position  of  the  liands  with  rehdion  to  the  wrists  and  arms 
is  important. 

'i'he  ehd)  faee  does  not  point  to  the  ground;  it  is  ahout  midway 
hetween  the  hf)rizontal  and  vertieal  position. 

The  rigid  forearm  is  directly  underneath  the  shaft  of  the  eluh. 


r.o 


THE  CLEEK 


>°'irE  first  part  of  the  downward  swing. 

The  turn  of  the  body  has  brought  the  left  knee  forward  and 
the  left  foot  is  again  flat  on  the  ground. 

The  hands  have  dropped  rapidly  with  the  body  turn,  but  the 
right  arm  and  wrist  still  retain  the  l)ent  position. 

The  right  knee  has  turned  in  with  the  movement  in  just  the  same 
manner  as  the  left  one  did  in  the  backward  swing. 

The  right  elboAV  is  close  to  the  body  and  advancing  with  the  stroke. 
Both  wrists  are  acting  in  complete  unison. 


62 


THE  CLEEK 

HE  right  wrist  is  doing  the  hitting,  while  the  left  arm  is  pull- 
ing hard. 

The  advancing  of  the  arms  with  the  stroke  pulls  the  club 

forward  as  the  right  wrist  whij^s  the  club  head  through. 

T'he  pressure  on  the  right  foot  is  transferred  to  the  inside  of  the  foot. 

The  left  leg  is  almost  straight  and  is  being  used  as  a  very  firm  support. 

From  this  point  the  w^eight  of  the  body  goes  forward  onto  the  left  foot. 

The  bodv  turn  is  well  advanced. 


64 


THE  CLEEK 

HIS  picture  and  the  one  following  form  a  good  study  of  bal- 
ance during  the  actual  hitting  of  the  ball. 
Both  feet  are  firmly  on  the  ground,  which  enables  the  full 
force  to  be  thrown  into  the  shot. 
The  right  arm  and  right  wrist  are  straightening  simultaneously  at 
the  moment  of  impact,  which  puts  the  full  power  of  the  club  head  into 
the  ball.     The  whole  turning  of  the  body  is  also  in  unison  with  the 
movement. 


66 


'■tL^Bk^!^' 


THE  CLEEK 


jHE  club  liead  follows  the  ball  right  out  after  it  and  close  to  the 
ground  as  far  as  the  reach  of  the  arms  will  permit  it. 
This  is  the  point  where  both  the  right  arm  and  wrist  are  com- 
pletely straightened. 

The  left  leg  is  now  perfectly  straight,  supporting  the  weight  of  the 

body  and  the  force  of  the  stroke. 


08 


^ 


1 


THE  CLEEK 

FTER  the  ball  is  away  the  club  head  follows  to  the  full  extent 
of  the  reach  of  the  arms. 

The  concentration  continues,  keeping  the  head  still  until  the 
M     club  is  fully  horizontal. 
The  remainder  of  the  stroke  is  exactly  similar  to  that  with  the  driver, 
the  body  turning  and  the  arms  continuing  straight  out  until  the  club 
is  nearly  vertical  and  the  final  relaxation  occurs. 


70 


r 


THE  CLEEK 

O  eriiiljle  a  consecutive  analysis  of  the  various  movements  of  the 
whole  stroke  these  pictures  are  given  in  a  group. 
Tlie  action  of  the  knees  in  assisting  thorough  balance  to  the 
stroke  at  all  points  is  clearly  shown. 
The  left  arm  never  bends,  but  the  right  one  l)ends  from  the  beginning 
and  does  not  again  straighten  until  the  ball  is  hit. 

The  advanced  turning  of  the  body  in  the  downward  stroke  pulls 
the  club  forward  for  the  final  wrist  action  as  the  ball  is  hit. 


72 


FULL  MASHIE  OR  MIDIRON 
(PLAYED  WITH  A  MASHIE  FOR  THESE  PICTURES) 


FULL  MASHIE  OR  MIDIRON 

HE  modern  bunkering  of  golf  courses  is  such  that  the  pkiyer 
often  finds  himself,  possibly  many  times  in  a  round,  with  a 
shot  to  play  to  a  green  which  is  from  1(50  to  175  j'ards  away 
and  so  bunkered  that  the  ball  must  carry  all  the  way  and  have 
but  very  little  run.  To  accomplish  this  the  ball  must  reach  its  maxi- 
mum height  at  vci-y  nearly  tlie  end  of  its  travel  so  as  to  drop  vertically. 
It  is  witli  tlie  JNIashie  that  I  play  this  shot,  and  I  consider  it  one  of  the 
most  imijortant  shots  of  the  game.  It  should  be  given  a  full  swing 
just  the  same  as  a  long  iron;  in  fact,  the  execution  of  this  stroke 
^^^th  the  Mashie  is  no  different  than  that  of  a  fidl  shot  with  a  INIidiron. 

The  address  is  closer  to  the  ball,  owing  to  the  shorter  shaft.  The 
stance  is  "  ojien,"  the  ball  being  well  forward  nearly  opposite  the 
left  heel. 

The  body  is  bent  well  forward. 


76 


FULL  MASHIE  OR  MIDIRON 

HE  club  has  reached  this  position  in  the  backward  swing  mainly 
through  the  agency  of  the  straight  left  arm,  allowing  the 
left  knee  to  bend  in  toward  the  ball  in  unison  with  the  swing 
of  the  club. 

Very  little  movement  of  the  wrists  has  taken  place  so  far,  but  the  right 
elbow  is  bending  with  the  movement. 


78 


'.   7      '      _f^ 


FULL  MASHIE  OR  MIDIRON 

|N  the  continuation  of  the  hackward  swing  the  clul)  is  lifted  to 
its  final  position,  the  left  knee  continuing  to  hend  toward  the 
hall  in  unison  with  the  movement. 

The  whole  swing  is  more  upright  and  compact  tlian  with  clubs 
of  longer  shafts. 

Although  the  swing  is  shorter,  the  wrist  movement  is  just  as 
complete,  and  is  therefore  sharper  relatively  to  the  stroke. 


80 


..  •.-'y'-^v-tv-nv 


FULL  MASHIE  OR  MIDIRON 

T  the  top  of  the  saving. 

The  left  arm  is  very  straight  and  firm  and  the  right  elbow- 
is  close  to  the  body. 

The  turn  of  the  body  has  placed  the  line  of  vision  to  the  ball 
just  in  front  of  the  left  shoulder. 

The  left  heel  has  been  lifted  only  slightly. 

The  grip  is  firmer  in  both  hands  with  the  iron  clubs  tlian  with 

the  wood. 

The  right  forearm  is  directly  under  the  shaft  and  in  line  with 

the  hip. 


82 


FULL  MASIIIJ^:  OR  IMIDIIION 

Ill^i  (]()\viiw;inl  swing  of  the  club. 

Tlic  arms  are  kept  close  to  tlie  Ijody  and  the  elbows  well 
in  together. 

To  this  point  the  hands  have  dropped  rapidly  in  advance  of 
the  club  head  and  in  unison  with  the  l)ody  turn. 

Note  the  unity  of  action  between  the  right  and  left  arms,  wrists 
and  hands,  also  the  support  and  l)alance  for  the  stroke  furnished  by 
the  feet  and  legs. 


Hi, 


rm'- 


k 


'imik 


FULL  MASHIE  OR  MIDIRON 

HE  downward  swing  of  the  club. 

At  tliis  point  the  right  elbow  is  ver^^  close  in  to  the  body.    It 
is  closer  in  fact  than  in  any  other  part  of  the  swing. 
The  right  hand  is  starting  to  throw  the  head  of  the  club  into 
the  shot,  while  the  left  hand  is  working  in  unison  with  all  its  power. 

To  apjily  maximum  force  both  hands  must  work  in  complete 
unison. 


86 


FULL  MASHIE  OK  MIDIRON 

HE  dovviiwaid  swing. 

Continuation  of  tlie  movement  previously  described,  showing 


^^1     its  development. 
^^1     Tl 


he  speed  of  the  club  head  is  increasing  very  rapidly,  princi- 
{)ally  from  the  action  of  the  right  wrist. 

The  left  arm  is  very  straight,  and  the  right  elbow  close  to  tlie  body. 


88 


FULL  MASHIE  OR  MIDIRON 

UST  at  the  moment  of  impact. 

The  hall  is  hit  very  decisively  and  there  must  he  no  flinching. 
The  cluh  head  must  l)e  permitted  to  follow  through  close  to 
the  ground  as  far  as  the  stretch  of  the  arms  and  the  turn  of 
the  body  will  permit. 

The  right  wrist  and  arm  have  now  straightened,  both  being  at 
maximum  power  as  the  club  head  reaches  the  ball. 
The  stroke  is  now  supported  on  the  left  leg. 


W) 


1-**' 


jfA^'     ■     ■;.-.  .<:T 


FULL  MASHIE  OR  MIDIRON 

FTER  the  ball  is  hit. 

The  arms  are  extending  to  their  full  reach,  the  right  arm 
moving  away  from  the  body  so  that  the  club  head  may  travel 
along  the  line  of  flight  in  its  follow  through. 
The  concentration  does  not  relax. 

The  speed  of  the  club  head  is  nearly  equal  to  that  of  the  l)all  as 
it  leaves  the  club. 


92 


■'m^. 


FULL  MASHIE  OR  MIDIRON 

ONTINUATION  of  the  follow  through. 

In  reaching  after  the  ball  the  weight  goes  forward  to  the 
left  foot  and  the  turn  of  the  right  leg  accommodates  the  turn 
of  the  body. 

Although  the  ball  is  well  away  there  is  as  yet  no  inclination  to  look 
after  it. 

Both  arms  are  extended  straight  out  to  their  limit. 


94 


if 


FULL  MASHIE  OR  MIDIRON 

FTER  the  ball  is  hit. 

The  body  continues  to  turn,  both  arms  stretching  out  as 
far  as  they  can.    They  continue  straight  while  the  club  head 
is  lifted  from  the  wrists  further  on  in  the  stroke. 
The  concentration  has  been  intense  and  does  not  easily  relax. 

The  ball  is  only  about  twenty  feet  away,  showing  how  fast  the 
club  follows  through. 


96 


FULL  MASHIE  OR  MIDIRON 

HE  finish  of  the  swing. 

The  body  has  now  reached  its  full  turn  and  is  facing  toward 
the  hne  of  flight. 

The  arms  are  well  out  and  the  gi-ip  is  still  firm. 
Most  of  the  weight  is  on  the  left  foot. 

The  right  arm  has  continued  straight  and  firm,  even  beyond  the 
point  where  the  left  arm  must  of  necessity  bend. 


98 


i* 


FULL  MASHIE  OR  MIDIRON 

1 1 ESE  pictures  show  the  development  of  the  stroke  from  differ- 
ent angles  of  view. 
It  is  quite  upright  and  comjiact. 

The  grip  is  firm  in  both  hands  thi-oughout,  as  is  characteristic 
of  all  iron  club  play. 

The  l)ackward  swing  is  smooth  and  firm  but  not  hui-ried. 
The  elbows  come  very  close  together  and  in  to  the  body  in  the 
downward  swing. 


100 


THE  MASHIE  NIBLIC 

100-120  YARDS 


THE  MASHIE  NIBLIC 

HE  iiddress. 

Tlie  ball  is  not  quite  so  far  away. 

The  feet  are  close  together. 

The  body  is  bent  more  over  the  ball. 


The  stroke  is  played  with  a  very  upright  and  compact  swing,  with  a 
shortened  grip  of  the  club. 


104 


THE  MASHIE  NIBLIC 

HE  backward  swing. 

The  fliil)  has  heen  taken  l)ack  to  this  position  with  a  straight 
swing  of  the  left  arm,  the  left  knee  bending  simultaneously, 
just  the  same  as  in  other  shots. 
The  club  shaft  swings  in  the  line  of  flight  due  to  the  upright  swing. 
The  grip  is  quite  firm  in  both  hands. 


106 


4 


•  1  --  :;■ 


THE  MASHIE  NIBIJC 

II]<]i  left  arm  has  continued  to  swing  straight  back,  the  left 
knee  to  bend  in  toward  the  ball,  and  the  right  arm  to  bend 
at  the  elbow. 
The  bending  of  the  wrists  in  lifting  the  cluli  bead  occurs 


earlier  in  the  stroke  with  the  shorter  clubs. 


108 


adHHMthdMHK^ 


THE  MASHIE  NIBLIC 

HE  backward  swing. 

The  lifting  of  the  club  head  by  the  wi-ists  continues  to  the 
top  of  the  swing,  at  which  time  the  chib  shaft  is  only  slightly 
beyond  the  vertical  position. 
Both  elbows  are  close  to  the  body. 

The  left  knee  bends  well  in,  but  the  body  turns  less  than  it  does 
in  the  longer  shots. 

The  left  heel  does  not  leave  the  ground ;  in  fact,  both  feet  are  firm 
and  flat  on  the  ground  throughout  the  stroke. 

The  left  arm  and  the  club  shaft,  as  well  as  its  face,  are  nearly  in 
the  same  line  as  the  flight  of  the  ball. 


110 


THE  MASHIE  NIBLIC 

HE  beginning  of  the  downward  swing  is  a  turning  of  the  body 
and  a  dropping  of  the  hands,  just  the  same  as  in  other  strokes. 
The  left  arm  is  i)erfectly  straight  and  swings  parallel  to  the 
line  of  flight  of  the  ball. 
The  right  elbow  remains  close  in  and  follows  the  body  turn,  in  unison 

with  it. 

The  left  knee  begins  to  straighten  and  the  right  knee  to  bend  in 
toward  the  ball. 


112 


'4 


j^iT,.'.-,.  •.!' .rtrjWij 


Ak&'^>L^-'>*'eHt''j^a7  .''.4*'.i'/  anaHv-Tpap^-.  ^ 


THE  MASHIE  NIBLIC 

Il¥j  downward  swing. 

The  body  turn  and  the  droj^ping  of  the  hands  has  continued, 

both  arms  coming  close  together. 

Both  wrists  are  bent  Ijack  and  working  in  unison.  The  pull 
of  the  arms,  the  whip  of  tlie  right  wrist  throw  the  club  head  into 
the  ball. 


114 


w^-"^ 


^S5.i|^$^^.^^^Sfc?SiiwJ 


hfcr;t-y^ii%:<ga 


THE  MASHIE  NIBLIC 

UST  as  the  club  head  meets  the  hall  the  grip  is  very  firm  and 
the  arms  are  fairly  rigid. 

The  right  elbow  is  moving  away  from  the  body  and  straight- 
ening, so  that  at  the  impact  the  right  arm,  as  well  as  the 


left,  is  straight. 

The  work  of  the  right  thumb  and  forefinger  is  well  illustrated. 
The  weight  is  about  equal  on  both  feet. 


ik; 


THE  MASHIE  NIBLIC 

|IIE  ball  is  hit  befoi-e  the  club  head  reaches  the  ground. 

It  is  at  this  point  that  the  right  arm  becomes  straight,  the 
club  head  following  through  well  out  after  the  ball  and  close 
to  the  ground. 

As  the  left  leg  straightens  and  begins  to  carry  the  weight,  the  right 
knee  bends  forward  with  the  liody  turn. 

The  concentration  is  thorough,  allowing  no  temptation  to  turn 
the  head. 


118 


^ii^ai^Ms^. 


^iw^^ 


'&. 


MUkMi 


THE  MASHIE  NIBLIC 

HE  turn  of  the  right  knee  and  body  accommodates  the  forward 
movement  of  the  arms,  so  that  the  club  extends  directly  in 
line  with  the  ball. 

The  right  arm  swings  through  straight  and  in  line  with  the 
clul)  shaft. 

The  concentration  has  not  relaxed  nor  the  head  moved. 


120 


\; 


THE  MASHIE  NIBLIC 

lONTINUATION  of  the  forward  swing. 

The  hfting  of  the  club  head  with  the  wrists  is  under  way. 
The  firmness  of  the  grip  still  maintains. 

Note  the  straightness  of  the  right  arm  and  the  club  still  point- 
ing toward  the  ball. 

The  liead  is  only  just  beginning  to  turn  toward  the  ball  and  the 
concentration  to  relax. 

Up  to  this  point  both  feet  have  been  flat  on  the  ground,  but  now 
the  turn  of  the  body  begins  to  lift  the  right  heel. 


122 


THE  MASHIE  NIBLIC 

r  I    i^^^'"  ^'^*^^  °^  ^^^^  swing. 

"^  -t-      'p|j(,  swing  is  decisive  to  its  complete  finish. 

Tlie  hands  are  well  away  and  the  cluh  liead  is  high,  the  arms 

straight  out  without  hending. 


The  hody  has  straightened  and  turned  to  face  the  line  of  lliglit,  the 
left  leg  supporting  most  of  its  weight. 

The  l)all  pitches  all  the  way  and  falls  dead  with  very  little  run. 


124 


THE  MASHIE  NIBLIC 

HE  movements  of  the  golf  stroke  are  best  viewed  from  ditt'erent 

angles,  as  shoAvn  in  these  pictures. 

A  characteristic  of  the  stroke  is  its  finish,  the  arms  being 

straight  and  high. 
Owing  to  the  shorter  club  and  swing  the  wrist  action  is  sharper  rela- 
tively to  the  swing.     They  lift  and  turn  the  club  head  earlier  in  the 
backward  stroke. 


126 


-■•riesi'mm^' 


.J^ 


SHORT  PITCH  SHOT 

WITH  MASHIE  NIBLIC 


SHORT  PITCH  SHOT  WITH  MASHIE  NIBLIC 

1 1 E  stance  is  close  to  the  hall  and  quite  open. 
Tlie  face  of  the  cluh  is  slightly  open. 

The  grij)  is  further  down  the  shaft,  the  feet  are  close  to- 
gether, and  the  ball  is  about  opposite  the  left  heel. 
The  grip  is  firm  with  no  relaxation  at  all  in  any  part  of  the  stroke. 
The  right  elbow  is  close  to  the  body  all  through  the  stroke. 


130 


'"rL-V"t'M"rtriTiif  I 


SHORT  PITCH  SHOT  WITH  MASHIE  NIBLIC 

N  taking  the  club  back  it  is  lifted  by  the  action  of  the  wrists, 
with  very  little  swing  of  the  arms. 

Both  feet  are  firm  on  the  ground,  and  the  knees  only  bend 
slightly. 
The  movement  is  deliberate,  not  hurried. 


132 


SHORT  PITCH  SHOT  WITH  MASHIE  NIBLIC 

T  the  top  of  the  swing. 

IJoth  feet  are  flat  on  the  ground  throughout  the  stroke. 
Tlie  club  swings  directly  in  line  with  the  flight  of  the  ball. 
The  right  elbow  is  close  to  the  body  and  the  wrists  well  bent, 
'i'he  club  swings  only  slightly  above  the  horizontal  position. 


134 


,;-.'-^ 

n 


SHORT  PITCH  SHOT  WITH  MASHIE  NIBLIC 

X  the  downward  swing  the  chib  liead  is  drawn  down  and  for- 
ward mainly  from  the  left  elbow,  but  in  conjunction  with  the 
action  of  the  right  wrist. 

The  body  turns  but  slightly,  but  is  in  advance  of  the  club  in 
the  same  manner  as  with  all  the  other  strokes. 

The  right  knee  is  bending  forward  with  the  swing  of  the  club. 


l^fi 


SHORT  PITCH  SHOT  WITH  MASHIE  NIBLIC 

HE  l):ill  is  struck  very  firmly,  it  being  more  of  a  sharp  hit  with 
an  open-face  club. 

The  club  head  is  traveling  in  a  downward  direction   and 
reaches  the  turf  after  the  ball  is  hit. 
The  right  ell)ow  remains  close  to  the  body. 

The  club  is  drawn  down  and  forward  largely  from  the  pull  of  the 
left  forearm,  the  left  elbow  beginning  to  bend  at  this  point. 


138 


rr' 


SHOUT  PITCH  SHOT  WITH  MASHIE  NIHLIC 


,  ^  v|HE  finish  of  the  swing. 

The  result  of  the  drawing  aetion  from  the  left  elhow  is  shown 

very  clearly  in  this  picture. 

The  right  knee  and  the  body  have  turned  to  accommodate 


the  movement,  the  same  as  in  other  strokes. 

The  face  of  the  club  is  still  open  and  the  club  head  is  still  Ijelow  the 
level  of  the  hands. 

When  played  in  this  manner  the  hall  has  very  little  run  after 
pitching  to  the  green. 


140 


SHORT  PITCH  SHOT  WITH  MASHIE  NIBLIC 

HE  pictures  just  described  individually  are  here  shown  grouped 
in  the  sequence  of  the  stroke. 

The  stroke  is  played  to  pitch  to  the  green  and  "  hold  "  without 
appreciable  run.     Its  chief  characteristic  of  execution  is  a 
sharp  decisive  drawing  action  of  the  club  head  from  the  left  forearm. 
The  club  face  is  "  open  "  all  through  the  stroke. 


142 


;,»oi'. ^- : **. ' -*    --  .'\,.:^... 


k^m 


I 


ji  k Mii  1  mm^i.  riiiji..iMiL  ii  t  "ji 


( 


1 


PITCH  AND  RUN 

CHIP  SHOT 


PITCH  AND  RUN 

HK  stance  is  more  square,  the  feet  are  closer  together,  and  the 

face  of  the  club  is  only  slightly  open. 

This  stroke  is  played  to  produce  a  run  to  the  ball  after  it 

pitches  to  the  green. 
The  grip  is  well  down  the  club  shaft  and  the  body  bent  well  forward 
from  the  waist. 


146 


PITCH  AND  RUN 

HE  backward  swing  is  a  simultaneous  lifting  from  the  wrists 
and  a  relatively  short  swing  of  the  arms.     This  part  of  the 
stroke  is  practically  the  same  as  that  for  the  short  pitch  sliot. 
The  movement  is  firm  and  deliberate,  and  not  hurried. 
'J'he  wrists  are  hcnt  well  hack,  and  the  elbows  close  to  the  body. 
The  club  swings  in  line  with  the  flight  of  the  ball. 


148 


PITCH  AND  RUN 

N  tlie  forward  swing  the  left  arm  is  kept  straight,  and  the  shot 
is  made  with  a  firm  hit  from  the  right  hand. 
Eoth  feet  are  always  firm  and  flat  on  the  ground. 
There  is  only  a  slight  turning  of  the  hody  or  bending  of 


the  knees. 


IfiO 


0BSk 


PITCH  AND  RUN 

jl''TER  the  hall  is  hit  the  cluh  head  and  hands  travel  along  the 
line  to  the  hole,  the  club  head  remaining  low. 
In  the  first  picture  the  cluh  head  is  seen  just  entering  the 
turf  as  the  ball  leaves  its  face.     The  ball  is  only  about  an 
inch  away. 

The  hit  has  been  made  mainly  with  the  right  hand,  sharply  and 
firmly,  the  thumb  and  forefinger  doing  most  of  the  work. 


152 


PITCH  AND  llUN 

HE  stroke  may  be  followed  from  beginning  to  end  in  tliese 
pictures.  It  is  made  mainly  from  tbe  wrists  with  only  just 
enough  knee  movement  and  body  turn  to  avoid  cramping 
the  swing. 

The  club  is  swung  back  slowly  and  easily,  although  with  a  firm  grip  in 
the  hands. 

The  club  head  meets  the  turf  after  the  ball  is  away  and  continues 
tt)  travel  close  to  the  ground. 

It  is  a  crisp  right-hand  shot. 


15i 


piQMpiigaii 

H  mmm    it 


BUNKER  SHOTS 


BUNKER  SHOTS 

ffllE  stance  is  more  back  of  the  ball. 

It  is  essential  that  the  footing  be  especially  firm  in  the  sand. 

The  face  of  the  club  is  well  open. 

The  weight  is  slightly  back  on  the  right  foot. 


The  grip  is  tighter  with  both  hands  than  for  other  shots. 


158 


BUNKER  SHOTS 


T  the  top  of  the  swing. 

The  stroke  is  decidedly  upright  and  out  in  front  of  the  hody. 
The  club  head  is  lifted  sharply  from  the  wrists  with  the  swing, 
away  from  the  body  and  across  the  line  of  flight. 
The  left  arm  is  straight  and  firm  and  the  grip  in  l)oth  hands  tight. 
Both  feet  are  firm  and  flat  in  the  sand. 


]  m 


m^^- 


BUNKKK  SHOTS 

HE  flul)  head  enters  the  sand  just  behind  the  ball.    It  has  been 
brought  down  quite  vertically  across  the  line  of  flight. 
The  grip  of  the  club  is  very  firm  at  this  point. 
The  face  of  the  clul)  is  still  open.    It  is  just  entering  the  sand 
and  the  ball  starting  to  leave  the  sand. 


102 


■iP^d^lHBW**'*'-**"'* 


*^ 


BUNKER  SHOTS 


^TIESE  pictures  show  how  the  club  head  travels  very  decidedly 
across  the  line  of  flight. 

The  body  turns  Avell  around  to  permit  the  club  to  swing  across. 
The  weight  is  well  back  and  the  feet  are  still  firm  in  the  sand 
in  their  original  position. 

The  face  of  the  club  remains  open.    Played  in  this  manner  the  ball 
rises  quickly  and  drops  "  dead  "  when  it  hits  the  green. 


164 


-■..■:S^gjj^(,..<^—   .Tj-..,- 


'"^"f^*^^^ 


BUNKER  SHOTS 

THEN  the  ball  lies  deep  the  same  method  is  used,  but  much  more 
force  is  needed  and  more  sand  has  to  l)e  dug  up. 
The  club  head  meets  the  sand  well  back  of  the  ball  and  keeps 
going  so  as  to  dig  a  long  furrow  through  the  sand. 

The  body  must  be  well  braced  on  the  feet  and  legs  to  withstand  the 

added  force  of  the  stroke. 


166 


BUNKER  SHOTS 

LOT  of  sand  has  to  be  moved  to  get  the  ball  out  of  a  very 
deep  lie. 

The  feet  are  very  firm  and  secure,  and  the  grip  of  the  club 
in  the  hands  is  equally  firm. 
Although  a  long  and  deep  furrow  of  sand  is  taken  with  the  club  head, 
it  keeps  going  forward,  out  and  away  from  the  body,  across  the  line 
of  flight. 

The  force  is  applied  without  disturbing  the  body  balance. 


1(!S 


PUTTING 


PUTTING 


UTT1X(;    is  purely  ;i  personal  ecinatioii  as  far  as  any  fixed 
method   is  eonceriied.      There  are  a   few   rnndanienlal    prin- 
■/      eiples.  however,  wliieli  should  be  followed.     They  are: 

The    body   should    be    kept  perfeetly   still   until   the  ball   is 
well  on  its  way. 

Throughout  the  swing  the  elui)  head  should  travel  elose  to  the 
ground. 

The  hit  should  he  true,  firm,  slow  and  deliberate. 


Hl^i  grip  is  firm  in  both  hands  and  two  fingers  overlap  to  make 
both  hands  work  in  unison. 
The  stance  is  close  to  the  ball. 

The  placing  of  the  club  head  iniinediatelj^  in  front  of  the  ball 
is  mereh'  a  preliminary  movement  in  getting  "  set  "  and  sizing  up  the 
line  of  the  putt. 

The  club  is  then  lifted  to  the  back  of  the  ball. 
In  looking  back  at  the  ball  the  head  is  turned  directly  toward  the 
ball,  where  it  remains  until  the  ball  is  well  away. 


172 


PUTTING 

IHE  backward  swing  is  not  longer  than  necessary. 

There  is  very  little  arm  movement,  the  cluh  l)eing  taken 
hack  mostly  by  the  l)en(l  of  the  right  wrist. 
The  right  arm  barely  touches  the  right  leg,  but  does  not 
rest  on  it. 

The  left  elbow  is  kept  out  toward  the  hole  during  the  whole 
swing. 


174 


PUTTING 

N  the  forward  swing  tlie  right  wrist  straightens  while  both 
hands  travel  along  uniformly  with  the  club  head. 
The  elbows  are  both  bent  and  swing  uniformly  with  the  hands. 
The  club  head  remains  close  to  the  ground. 


17H 


PUTTING 

II Fj  elbows,  hands  and  club  head  follow  along  after  the  ball. 
The  head  remains  still  until  the  ball  is  well  away. 
The  ball  is  struck  firmly  enough  to  reach  the  back  of  the  cup. 
Confidence  is  the  keynote  to  successful  putting. 


178 


PUTTING 

KOiM  the  start  to  the  finish  of  the  putting  strolce  the  body  and 
liead  i-eniain  in  the  same  position  without  movement. 
The  club  head  swings  close  to  the  ground  and  the  stroke 
is  made  largely  by  the  action  of  the  right  wrist.  The  wrist 
does  not  straighten  completely,  as  the  club  head  is  kept  low  to  the 
finish  of  the  stroke. 

The  whole  stroke  is  deliberate  and  firm. 


180 


JsSISk^. 


>'  ■',  ff4 


-r^itt^^u^.  .^.x'. 


A... 


'■"'!?*!jyy^ 


;^- 


^^^ 


^  ^^?«S^ 


THE  PUSH  SHOT 

PLAYED  WITH  A  MASIIIE  IRON 


THE  PUSH  SHOT 

■^^^HE  stance  is  nearly  "  square." 

The  grip  is  quite  firm. 

The  hall  is  a  little  further  hack  toward  the  right  foot. 

The  weight  is  more  on  the  left  foot. 
The  hands  are  more  foi-ward  in  the  address. 


184 


THE  PUSH  SHOT 

HE  left  arm  does  most  of  the  work  in  starting  tlie  club  in  the 
backward  swing. 

The  left  knee  starts  to  bend  as  the  body  turns. 
The  face  of  the  club  opens  as  it  is  taken  back. 


The  left  arm  is  straight  and  the  right  elbow  bends  in  to  the  hip. 
The  grip  is  very  firm  in  both  liands. 


186 


iftlsfeja 


THE  PUSH  SHOT 

|ROM  tlxis  point  the  right  hand  begins  to  lift  the  chib  head  in 

advance  of  the  swing  of  the  arms. 

Both  elbows  are  close  to  the  body  and  the  left  arm  is  very 

straight  and  slightly  stiff. 
The  left  knee  bends  in  toward  the  ball  while  the  right  leg  straightens 
to  act  as  a  brace  for  the  body  balance. 


188 


THE  PUSH  SHOT 


HE  top  of  the  swing. 

Both  feet  are  very  firm  on  the  ground. 

The  left  knee  is  turned  in  toward  the  ball  and  the  weight 
is  on  the  inner  side  of  the  left  foot. 
The  swing  has  not  the  same  freedom  as  other  shots — the  muscles  are 
more  tense  and  the  swing  more  compact. 

The  swing  is  relatively  short,  the  club  at  the  top  being  only 
slightly  beyond  the  vertical  position. 
Real  concentration  begins  here. 


190 


THE  PUSH  SHOT 

|HE  club  is  coming  down. 

The  body  has  turned  rapidly  and  dropped  forward,  putting 
most  of  the  weight  on  the  left  foot. 

The  club  has  reached  this  position  more  from  a  quick  down- 
ward motion  of  the  arms  simultaneously  with  the  turn  of  the  body, 
than  from  any  action  of  the  wrists. 

The  right  knee  bends  and  turns  inward  with  the  turn  of  the  body. 
The  right  elbow  is  close  in  to  the  body  and  well  forward. 


192 


THE  PUSH  SHOT 

HE  forward  swing  of  the  cliih. 

Continuation  of  the  tmn  of  the  body  and  the  dropping  of 
the  arms,  with  but  httle  wrist  action  so  far. 
The  body  has  now  tm-ned  as  far  as  the  position  of  address 
except  it  is  leaning  more  forward,  with  more  weight  on  the  left  leg 
than  for  other  shots. 

From  here  the  right  hand  dominates  the  power  quite  the  same  as 
in  all  other  shots. 


194 


THE  PUSH  SHOT 

N  conjunction  witli  the  action  of  tlie  right  wrist,  the  arms 
and  hands  are  swinging  forward  and  becoming  very  straight 
and  tense. 
Owing  to  the  ])all  being  further  back  toward  the  right  foot, 

and  the  arms  and  Ijody  well  advanced,  the  ball  is  hit  while  the  club 

head  is  descending. 


190 


THE  PUSH  SHOT 

HE  forward  swing. 
The  grip  is  very  firm. 

The  arms  and  hands  are  still  going  forward  and  still  much 
in  advance  of  the  cliil)  head. 
The  right  wrist  is  now  nearly  straight,  as  is  also  the  right  arm. 
This  shot  must  be  played  very  firmly  and  decisively. 
The  blur  of  the  club  head  and  shaft  well  illustrates  the  terrific 
speed  of  the  club  head  right  at  the  ball. 


198 


THE  PUSH  SHOT 

HE  club  head  is  just  ready  for  impact  with  the  ball. 

The  success  of  this  shot  depends  on  the  absolutely  firm 
and  unflinching  effort  at  this  point.  Both  arms  are  very 
straight  and  the  right  hand  is  turning  slightly  forward.  The 
arms  and  hands  are  much  in  advance  of  the  ball.  The  ball  is  hit  first 
and  the  club  head  reaches  well  into  the  turf,  owing  to  the  arc  of  the 
swing  being  well  advanced  with  respect  to  the  ball. 


200 


THE  PUSH  SHOT 

HE  ball  is  on  its  way.    It  has  a  low  trajectory  and  reaches  its 
niaxiniuni  height  very  quickly. 
The  right  wrist  has  turned  well  forward. 
Both  arms  are  stretched  to  their  limit  with  tlie  club  head 
still  close  to  the  ground. 

Both  legs  are  nearly  straight,  the  right  heel  just  beginning  to 
lift  from  the  ground. 

The  concentration  keeps  the  head  fixed  firndy  in  its  original 
position. 


202 


THE  PUSH  SHOT 

()  the  extreme  finish  of  the  swiiifr.  the  arms  are  still  stretched 
out  to  their  limit. 

Even  at  tliis  point  the  muscular  tension  still  exists. 
Unlike  other  shots,  this  one  has  no  freedom  or  relaxation  in 
any  part  of  the  swing. 


204 


THE  PUSH  SHOT 

HE  details  of  the  execution  of  a  Push  Shot  have  been  much 
written  about  for  many  years.  Its  sahent  features  are  shown 
in  these  jiictures. 

It  (hflfers  principally  from  other  shots  in  its  tenseness  of 
execution,  shortened  swing  and  advancing  of  the  body  in  tiie  downward 
swing,  so  that  the  arc  which  the  club  head  describes  is  well  forward 
with  respect  to  the  ball. 

The  club  head  meets  the  ball  on  the  descending  part  of  the  swing, 
with  the  hands  well  in  advance  and  the  right  wrist  turning  over  more 
sharply  than  usual. 

The  ball  rises  quickly  to  its  maximum  height,  and  then  continues 
straight  and  true  until  its  force  is  spent. 


206 


THE  CLEEK— FULL  SHOT 

FOR  THE  LEFT-HAND  PLAYER 

These  pictures  are  reversed  so  as  to  show  how  the  various  movements 
would  appear  if  played  left-handed. 

They  will  also  he  of  interest  to  the  right-hand  player  for  the  purpose  of 
comparing  his  swing  before  a  mirror. 


THE  CLEEK— LEI  T  HANDED 

nilE  stance  differs  from  that  of  the  wooden  chibs  only  in  that 
[he  ball  is  closer  to  the  player  and  the  feet  are  not  quite  so 
far  apart. 
There  is  slightly  more  bending  of  the  body  from  the  liips. 


The  whole  stroke  is  essentially  the  same  as  that  with  the  driver. 


210 


THE  CLEEK— LEFT  HANDED 

N  the  backward  movement  of  the  club  the  arms  are  kept  closer 
to  the  body  and  the  swing  is  more  ujiright  than  for  the  wooden 
clubs,  due  to  the  shoi-ter  shaft  and  greater  bend  of  the  body. 
There  is  only  a  slight  movement  from  the  wrists  so  far  in 
the  stroke. 

Note  the  bending  of  the  right  knee  and  the  straightness  of  the 
right  arm. 


212 


THE  CLEEK— LEFT  HANDED 

I>Iy  through  tlie  hack  ward  swing  hoth  elbows  are  close  together 
and  the  arms  are  very  close  to  the  body. 

Compare  the  positions  of  the  right  knee  in  the  two  pict- 
ures.    It  is  the  body  turn  which  pulls  the  right  knee  in,  and 
the  right  heel  from  the  ground. 

The  left  elbow  l)ends  sharply  at  the  latter  part  of  the  upward 
swing,  while  the  wrists  lift  and  turn  the  club. 


214 


THE  CLEEK— LEFT  HANDED 

T  the  top  of  the  swing,  just  as  the  clul)  starts  down. 
The  left  leg  is  quite  rigid  and  acts  as  a  firm  support  and  bal- 
ance for  the  turn  of  the  body,  which  is  to  follow. 
The  position  of  the  hands  with  relation  to  the  wrists  and  arms 
is  important. 

The  club  face  does  not  point  to  the  ground;  it  is  about  midway 
between  the  horizontal  and  vertical  positions. 

The  left  forearm  is  directly  underneath  the  shaft  of  the  club. 


216 


THE  CLEEK— LEFT  HANDED 

II  Vj  first  2)art  of  the  downward  swing. 

The  turn  of  the  body  has  brought  the  right  knee  forward 
and  the  right  foot  is  again  flat  on  the  ground. 
The  hands  have  dropped  rapidly  with  the  body  turn,  but  the 
left  arm  and  wrist  still  retain  the  bent  position. 

The  left  knee  has  turned  in  with  the  movement  in  just  the  same 
manner  as  the  right  one  did  in  the  l)ackward  swing. 

The  left  elbow  is  close  to  the  body  and  advancing  with  the  stroke. 
Both  wrists  are  acting  in  complete  unison. 


218 


THE  CLEEK— I>EFT  HANDED 

jHE   left  wrist   is  doing  the  hitting,   while  the  right   arm  is 
pulling  hard. 

The  advancing  of  the  arms  with  the  stroke  pulls  the  club 
forward  as  the  left  wrist  whips  the  club  head  through. 
The  pressure  on  the  left  foot  is  transferred  to  the  inside  of  the  foot. 
The  i-ight  leg  is  almost  straight  and  is  being  used  as  a  very  firm 
sujjport.  From  this  point  the  weight  of  the  body  goes  forward  onto 
the  right  foot. 

The  body  turn  is  well  advanced. 


220 


THE  CLEEK— LEFT  HANDED 

HIS  picture  and  the  one  following  form  a  good  study  of  bal- 
ance during  the  actual  hitting  of  the  ball. 
Both  feet  are  firmly  on  the  ground,  which  enables  the  full 
force  to  be  thro^vn  into  the  shot. 
The  left  arm  and  left  wrist  are  straightening  simultaneously  at  the 
moment  of  the  impact,  which  puts  the  full  power  of  the  club  head  into 
the  ball.  The  whole  turning  of  the  body  is  also  in  unison  with  the 
movement. 


222 


THE  CLEEK— LEFT  HANDED 

HE  club  head  follows  the  ball  right  out  after  it  and  close  to 
the  ground  as  far  as  the  reach  of  the  arms  will  permit  it. 
This  is  the  point  where  both  the  left  arm  and  wrist  are  com- 
pletely straightened. 

The  right  leg  is  now  perfectly  straight,  supporting  the  weight  of  the 

body  and  the  force  of  the  stroke. 


224 


jFTER  tlie  ball  is  awaj'  the  club  head  follows  to  the  full  extent 

of  the  reach  of  the  arms. 

The  concentration  continues,  keeping  the  head  still  until  the 

club  is  fully  horizontal. 
The  remainder  of  the  stroke  is  exactly  similar  to  that  with  the  driver, 
the  body  turning  and  the  arms  continuing  straight  out  until  tiie  club 
is  nearly  vertical  and  the  final  relaxation  occurs. 


226 


THE  CLEEK— LEFT  HANDED 

O  enable  a  consecutive  analysis  of  the  various  movements  of 
the  whole  stroke  these  pictures  are  given  in  a  group. 
The  action  of  the  knees  in  assisting  thorough  balance  to  the 
stroke  at  all  points  is  clearly  shown. 
The  right  arm  never  bends,  but  the  left  one  bends  from  the  beginning 
and  does  not  again  straighten  until  the  ball  is  hit. 

The  advanced  turning  of  the  body  in  the  downward  stroke  pulls 
the  club  forward  for  the  final  wrist  action  as  the  l)all  is  hit. 


ii28 


COMPARISON  OF  BACKWARD  AND 
FORWARD  SWINGS 


BACK\VARD  AXU  FORAVARD  SWINGS 


jfHE  analysis  of  the  strokes  would  not  he  complete  without  com- 
paring the  hackward  and  forward  swings  to  note  theii- 
sequence  of  movement. 

'J'he  ])ic'tures  on  the  opposite  page  show  three  pf)sitions  of 
the  swing  with  a  driver,  the  hackward  swing  in  tlie  first  column  and  the 
corresponding  positions  of  the  forward  swing  in  tlie  second  column. 
The  positions  are  similar  in  that  the  cluh  is  in  the  same  relative  position 
in  each,  hut  there  is  little  similarity  elsewhere. 

In  the  hackward  swing  the  hands  are  well  out  from  the  hody — the 
arc  of  travel  of  the  cluh  head  is  well  hack.  But  in  the  forward  swing 
the  turn  of  the  hody  and  with  it  the  hending  forward  of  the  right  knee, 
comhined  with  the  delayed  action  of  the  wrists,  causes  the  cluh  head  to 
describe  a  very  different  path. 

A  lot  of  opportunity  for  a  study  of  the  swing  is  presented  in  these 
pictures. 


232 


BACKWARD  AND  FORWARD  SWINGS 


N  coiitiiuiation  of  the  conipari.soiis  of  the  hackwai-d  and  lorvvard 
swiiig-s  these  pictures  show  the  C'kek  shot  in  three  (hfferent 
positions  of  the  club.  The  first  cohunu  are  tlie  backward  and 
the  second  column  the  forward  swings. 
The  same  essential  variation  in  the  movements  are  shown  just  as  with 
the  driver  on  the  pi-eceding  page. 

The  analysis  sliows  that  in  the  downward  swing  the  first  move- 
ments arc  mainly  to  get  into  position  to  hit  and  the  work  of  hitting  is 
delayed  until  tlic  body  as  a  whole  is  in  that  position — then  the  actual 
hit  is  made  from  the  wrists,  the  right  doing  a  major  share  of  the  work. 
In  the  two  pictures  at  the  bottom  of  the  page  the  advanced  turn 
of  the  Ijody  in  the  forward  swing  with  respect  to  the  same  position  of 
the  clul)  in  the  liackward  swing  is  well  illustrated. 


23J. 


BACKWARD  AND  FORWARD  SWINGS 

N  these  pictures  a  comparison  of  the  backward  and  forward 
swings  with  a  Masliie  are  shown  at  the  top,  and  at  the  bottom 
with  a  Mashie  Iron  in  the  push  shot. 

The  delayed  action  of  the  wrists  until  the  position  for  bit- 
ting is  attained  from  the  turn  of  the  body  is  well  illustrated,  as  is 
also  the  action  of  the  right  wrist  in  finally  throwing  the  club  head 
into  the  ball. 

In  the  bottom  pictures  of  the  push  shot  the  leaning  forward  and 
turning  of  the  body  at  the  time  of  the  impact  in  comparison  with  the 
position  of  address  is  emphasized. 


236 


SIMILARITY  OF  STROKES  WITH  ALL  CLUBS 


SIMILARITY  OF  STROKES  WITH  ALL  CLUBS 

|S  li.as  been  previously  pointed  out,  the  essential  features  of  all 
strokes  are  quite  the  same. 

On  tlie  opposite  page  are  shown  similar  positions  of  the  strokes 
with  the  Driver  (first  colunm),  the  Mashie  (second  column) 
and  the  Mashie  Niblic  (third  column). 

It  will  be  seen  that  the  action  and  sequence  of  the  action  of  the 
wrists,  arms,  knees,  hips,  shoulders,  etc.,  are  quite  alike  for  all. 

The  variation  in  the  lengih  of  the  swings  is  shown  from  the 
Driver  in  a  horizontal  position  at  the  top  to  the  Mashie  Xiblic  in  a 
\ertical  position.  The  latter  is  much  more  upright  and  with  more 
relative  bend  of  the  wrists  for  the  position  of  the  club. 

They  all  have  the  same  movements  and  sequence  of  the  movements. 


240 


%  i 


J^ 


;^    A5- 


^i 


SIMILARITY  OF  STROKES  WITH  ALL  CLUBS 


ONTINUING  tlie  analysis  of  similarity  of  strokes,  there  are 
here  presented  pictures  of  the  Driver  (first  column)  and 
Mashie  (second  column),  showing  the  development  of  the 
wrist  action  up  to  the  actual  hitting  of  the  ball. 
The  similarity  of  the  strokes  in  their  essential  features  is  readily  seen, 
not  only  in  the  body  positions,  but  also  in  the  action  of  the  feet,  knees, 
arms,  wrists,  etc. 


242 


SIMILARITY  OF  STROKES  WITH  ALL  CLUBS 


FTER  the  ball  is  hit  the  strokes  with  the  Driver  and  jNIasiiie  or 
even  the  INIashie  Niblic  are  very  similar. 

The  chib  follows  out  after  the  ball  with  both  arms  stretched 
straight  out  and  all  the  bodily  positions  entirely  similar. 
The  pictures  in  the  first  cokunn  are  of  the  Driver,  in  the  second  column 
the  Masliie.  and  the  Mashie  Niblic  at  the  bottom. 

Although  the  INIashie  Xiblic  has  a  shorter  swing,  its  finish  is 
accompanied  with  the  same  poise  of  the  body  and  general  position 
as  with  the  Driver. 


244 


CONCLUDING  REMARKS 


CONCLUDING  REMARKS 

N  the  preceding  pages  the  various  i)hysical  movements  in  their 
sequence  have  been  described  for  all  the  strokes.  The  promi- 
nent characteristics  of  all  have  been  specifically  pointed  out. 
Inasmuch  as  they  are  common  to  all  the  strokes,  there  has 
of  necessity  been  repetitions,  but  it  is  by  rei)etition  that  all  teaching 
establishes  its  truths  most  indelibly  in  the  mind.  In  golf  there  is  no 
exception  to  the  rule:  the  puj^il  learns  the  movements  by  constant 
repetitions. 

It  seems  to  me  fitting,  therefore,  to  describe  as  a  general  sum- 
mation the  principal  features  which  apply  alike  to  the  making  of  all 
golf  strokes. 

In  taking  the  stance,  the  feet  are  placed  a  comfortable  distance 
apart— that  seems  to  me  the  best  way  to  describe  their  position.  Of 
course,  a  tall  player  should  "  spread  "  more  than  a  shorter  or  stouter 
one.  Tlie  latter  should  stand  straighter  and  place  the  feet  closer 
together.  A  slightly  open  stance  is,  I  believe,  the  best — it  tends  to 
shorten  the  backward  swing,  prevent  overswinging,  and  give  a  better 
position  of  the  l)ody  ft)r  the  impact  of  hitting  as  well  as  permitting  an 
easier  follow  through. 

The  club  is  gripped  firmly  enough  in  the  fingers  of  the  left  hand 
to  give  a  feeling  of  thorough  control  of  the  club  in  that  hand.  The 
stance  being  comfortable,  the  same  feeling  should  prevail  in  the  grip, 
in  the  arms,  in  the  legs  and  body — in  other  words,  a  general  relaxa- 
tion. The  preliminary  waggle  is  to  adjust  this  relaxation  and  visual- 
ize the  making  of  the  stroke  for  the  desired  flight  of  the  ball.  As  this 
visualization  proceeds,  so  also  does  the  concentration  develop,  until  it 
is  fixed  intently  on  the  actual  hitting  of  the  ball.  The  position  of  the 
head  becomes  fixed  and  is  directed  to  remain  fixed  and  immovable 

until  the  ball  is  away. 

248 


CONCLUDING  REMARKS 

The  relaxation  of  the  hody  continues  all  through  the  backward 
swing.  All  the  various  parts  of  the  body  which  make  up  the  turning 
movements  operate  smoothly  in  unison,  easily  and  deliberately,  with- 
out any  semblance  of  jerkiness  or  hurried  action,  but  firmly  and  with 
a  feeling  of  complete  control.  The  club  is  started  back  with  a  simul- 
taneous bending  of  the  left  knee,  swinging  of  the  straight  left  arm,  and 
a  ])ending  of  the  right  elbow,  the  shoulders  and  hips  turning  smoothly 
with  the  movement  right  from  the  start.  The  wrists  delay  their  bend- 
ing action  until  the  club  has  reached  a  horizontal  position,  where  thev 
begin  to  lift  and  turn  the  club  head,  harmonizing  their  action  smoothly 
with  the  other  movements.  All  through  the  backward  swing  there 
is  a  distinct  feeling  of  firm  support  on  the  right  leg  without  transfer- 
ring too  much  of  the  weight  to  it.  It  gradually  tightens  to  the  top  of 
the  swing.  At  the  finish  of  the  backward  swing  the  left  shoulder  has 
turned  underneath  without  disturbing  the  position  of  the  head. 

When  the  club  starts  its  downward  movement  the  previous  relax- 
ation disappears  and  in  its  place  a  distinct  feeling  of  tenseness  ensues. 
The  grip  is  tight  in  both  hands  and  the  various  movements,  although 
still  in  complete  unison,  are  fast  and  decisive.  At  the  start  the  right 
knee  begins  to  bend  in  toward  the  ball  and  the  left  knee  to  straigliten. 
The  body  turns  around  very  rapidly  and  with  it  the  left  arm  pulls 
straight  down  and  the  right  elbow  comes  in  close  to  the  body,  still  in  its 
bent  position.  The  wrists  delay  their  action  until  the  club  head  has 
reached  a  horizontal  position,  at  which  point  they  begin  to  put  their 
power  into  the  stroke,  and  that  power  is  the  final  climax  toward  speeding 
up  the  club  head  and  timing  the  force  so  that  it  is  at  the  maximum  just 
as  the  club  head  meets  the  ball.  Before  this  final  action  of  the  wrists 
throws  the  club  head  into  the  ball  the  body  has  advanced  in  its  turn- 
ing movement  until  it  is  facing  considerably  ahead  of  the  position  of 
the  ball.     The  arms  are  thus  permitted  to  stretch  straight  out  and 

249 


CONCLUDING  REMARKS 

away,  forcing  the  club  head  to  continue  its  motion  close  to  the  ground 
and  along  the  jiath  of  the  flight  of  the  ball.  The  impetus  of  the  stroke 
carries  the  club  head  to  its  final  position  at  the  finish,  where  relaxa- 
tion again  occurs. 

That  briefly  and  in  general  describes  the  stroke  as  it  is  made  from 
beginning  to  end,  but  to  perform  these  movements  in  proper  sequence 
and  timing  requires  a  mental  coordination  to  accompany  the  physical 
movements  and  prompt  their  operation.  This  mental  coordination 
is  indispensable  to  successful  results,  and  I  shall  endeavor  to  describe 
the  course  of  thought  or  inward  feeling  which  takes  place  during  the 
playing  of  a  stroke. 

In  the  first  place,  a  large  amount  of  optimism  is  necessary — a  con- 
fident feeling  that  the  shot  to  l)e  played  is  easy  of  accomplishment. 
Then  the  desired  result  must  be  thoroughly  visualized  in  the  mind,  so 
that  there  is  no  uncertainty  of  the  way  the  l)all  is  to  travel,  Ijoth  in  the 
air  and  on  the  ground  after  it  strikes.  This  should  be  done  quietly 
and  cahnly  just  before  making  the  stroke  and  not  in  a  nervous  or  wor- 
rying manner  immediately  after  making  the  preceding  stroke.  Hav- 
ing determined  just  what  it  is  desired  to  have  the  ball  do,  I  always 
get  the  proper  feel  of  the  club  in  the  left  hand,  which  is  insuring  of 
confidence.  In  fact,  throughout  the  whole  stroke  the  left  hand  never 
loses  its  firmness  of  grip  or  control.  At  the  same  time  a  good  firm 
grip  with  the  thumb  and  forefingers  of  the  right  hand  adds  to  the 
feeling  of  complete  control  of  the  club. 

Having  visualized  the  shot  to  my  satisfaction,  obtained  the  proper 
feel  of  the  club  in  the  left  hand  and  adjusted  the  stance  to  an  easy 
coordination,  I  then  satisfy  myself  as  to  just  how  the  club  head  is  to 
meet  the  ball  to  produce  the  result  in  its  flight  that  has  been  jjreviously 
determined  upon.  The  visuahzation  is  transferred  to  the  way  the 
club  head  must  go  into  the  ball  and  through  with  it.    This  takes  place 

250 


CONCLUDING  REMARKS 

(Imiiig  the  preliminary  waggle  and  the  soling  of  the  club  head  behind 
the  ball.  In  other  words,  I  have  come  to  the  point  of  knowing  just  how 
the  club  head  must  meet  the  ball  and  my  whole  mind  and  concentration 
centre  on  that  one  final  thing — I  am  going  to  see  the  club  meet  the 
ball  just  as  I  have  visualized  it  in  advance.  I  doubt  if  there  is  any 
other  thought  of  any  kind  enters  my  head  until  that  action  is  over. 

When  this  visualization  and  concentration  which  I  have  described 
is  complete  and  thorough,  the  swinging  of  the  club  almost  automati- 
cally takes  care  of  itself.  There  is  then  no  occasion  to  hurry  the  back- 
ward swing,  for  the  confidence  is  so  complete  that  all  thought  of  haste 
disappears  and,  furthermore,  the  effort  isn't  going  to  be  required  until 
the  club  head  is  finally  thrown  into  the  ball.  In  addition  there  is  little 
tendency  to  look  up,  because  the  whole  mind  and  attention  are  centred 
on  the  club  head  meeting  the  ball,  rather  than  whether  the  ball  goes 
right  or  wrong — you  know  the  ball  is  going  to  go  riglit,  because  that 
was  all  thoroughly  considered  and  determined  on  in  advance.  When 
the  travel  of  the  club  has  turned  the  body  toward  the  ball  in  its  flight, 
you  look  to  see  it  go  where  you  intended  it  to  go,  rather  than  in  eager- 
ness to  find  out  whether  it  is  going  to  that  jilace  or  some  other. 

To  become  a  good  player,  day  in  and  day  out;  whether  in  a 
friendly  game  or  in  a  tournament;  whether  you  are  ahead  or  behind 
in  the  competition ;  whether  the  luck  seems  to  be  with  you  or  against 
you;  in  fact,  under  any  of  the  varying  conditions  which  golf  is  heir  to: 
one  must  possess  a  "  golf  temperament."  Some  are  instinctively  gifted 
with  that  mental  poise,  but  many  players  of  standing  have  been  obliged 
to  cultivate  and  master  it  with  the  same  painstaking  care  and  effort 
as  was  applied  to  the  learning  of  the  swing  itself.  It  is  so  essential 
to  success  that  diligence  and  perseverance  should  l)e  exerted  to  acquire 
it  by  those  who  are  not  naturally  so  endowed. 

251 


CONCLUDING  KEMAliKS 

The  man  who  can  be  keen  on  winning  and  yet  take  the  game  as 
an  afternoon's  recreation;  who  can  forget  the  bad  stroke  and  approach 
the  next  one  with  carefree  and  optimistic  confidence;  who  can,  after 
a  bad  hole  or  two,  start  from  tlic  following  tee  with  a  smile  of  genuine 
self-possession ;  who  can  watch  a  tee  shot  go  out  of  bounds  and  not  be 
disturbed;  or  miss  a  short  putt  and  confidently  anticipate  making  it 
up  with  a  long  one  later  on;  Avho  can  retain  his  earnestness  in  the  face 
of  disappointment  or  defeat — that  man  is,  or  will  l)e,  a  champion  and 
will  derive  the  highest  enjoyment  whieli  the  game  can  furnisli. 


252 


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